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A jazz memoirist, a Palestinian rocketeer and Mexican myths set to music kick off the Public Theater’s annual festival of adventurous work from across the globe.
Four recent works put plays and the people who make them in a weird spotlight.
A comedy number from the flop “Mack & Mabel” found the unexpected sweet spot between Irving Berlin and Stephen Sondheim.
Lucas Hnath’s cunning new ghost story, about a psychic and her client, is a twisty yarn that won’t unravel.
At the Park Avenue Armory, Odon von Horvath’s 1937 drama gets a rare and physically overwhelming staging.
Samuel D. Hunter’s creaky play about the downsizing of the American West features terrific performances by Judith Ivey and Edmund Donovan.
Alanis Morissette’s “ironic” fury finds a perfect Broadway musical setting in Diablo Cody’s fiery indictment of, well, everything.
Shows that defied categorization offered a stark choice: Escape an angry world, or face up to its travails. Beyond Broadway, writers explored race, inequality and addiction.
Read and studied for decades, a key work of the American avant-garde finally returns in a major New York revival.
Will Eno’s new play about the many people each person contains is glib at first, but grows, like life, from trick to tragicomedy.
Two plays based on the autobiographical novels of Édouard Louis put the problem of violence against gay men in a larger social context.
City Center’s gala production of the 1979 Broadway musical gives our favorite fascist enabler a feminist makeover.
In a new work far from Broadway, Jeremy O. Harris, the author of “Slave Play,” puts his body and soul on the line.
Tina Turner gets the bio-jukebox treatment, with all its lows (emaciated storytelling) and one of its peaks (a star-making performance from Adrienne Warren).
In a witty new play by Liza Birkenmeier, restless friends find themselves challenged by the first American woman in space.
When “Macbeth” meets McDonald’s, a meaty new musical is born.
When the former Edna Turnblad plays the feminist firebrand of the 1970s, there’s no dress but it’s still a drag.
Gerard Alessandrini’s franchise was looking as long in the tooth as the shows it aimed to skewer. A new edition brings it back to hilarious life.
Adam Rapp’s play transfers to Broadway in a rivetingly dark and detailed production by David Cromer.
A musical adaptation of the popular fantasy novel comes to Broadway and goes to Hades.
A complex look at democracy from an Asian perspective turns “The King and I” inside out.
This inaugural offering from the Coop squeezes whimsy, character comedy and ecological allegory into one crowded play.
An astonishing new play by Will Arbery risks a rare stage subject: Christian conservatism.
Jeremy O. Harris’s Off Broadway hit about race and sex in America shakes things up on Broadway.
Gay dads and their “woke genius” daughter face the limitations of life in a patchy new play by Jeff Augustin.
Brian Cox plays Lyndon B. Johnson at the height of his powers, when history decided to bring him down.
Ben Brantley and Jesse Green respond to readers curious about the Tony race, hungry for happy fare, and heading to London.
A new work from one of the indisputably great directors is partly a tribute to theater and partly a warning about theatricality.
As a work of high drama, Jesse Green writes, the Trump-Zelensky script lacks stagecraft and subtlety.
Florian Zeller’s tiresome new play features Jonathan Pryce and Eileen Atkins as a long-married couple, one of whom may be dead.
In ‘runboyrun’ and ‘In Old Age,’ the latest installments of Mfoniso Udofia’s nine-play cycle, America is no place to hide from the past.